Les artistes suédois à Paris, 1908-1935 tradition, modernisme et création by Frank Claustrat(
Book
)2
editions published
between
1994
and
1995
in
French
and held by
7 WorldCat member
libraries
worldwide
THE THIRD GOLDEN AGE OF SWEDISH ARTISTS IN PARIS BEGINS WITH THE ARRIVAL IN THE CITY OF MATISSE'S FUTURE STUDENTS IN 1908.
IT DESAPPEARS WITH THE CLOSING OF THE "MAISON WATTEAU", A REAL SCANDINAVIAN ACADEMY, ARTISTIC CENTER SETTLED IN THE HEART
OF MONTPARNASSE, IN 1935. AFTER AN APPRENTICESHIP IN A FREE ACADEMY (COLAROSSI, GRANDE CHAUMIERE, LA PALETTE, THE RUSSIAN
ACADEMY, THE MATISSE ACADEMY, THE LHOTE ACADEMY, THE MODERNE ACADEMY, ETC...), SWEDISH ARTISTS SHARE THEIR PART IN BUILDING
UP CONTEMPORARY ART, AT VARIOUS STAGES, AND THROUGHOUT MOVEMENTS SUCH AS NATURALISM, CALSSICISM, NEO-REALISM, EXPRESSIONNISM,
GEOMETRICAL ABSTRACTION, SURREALISM... AMONG THOSE, JEAN BORLIN IS AN UNRIVALLED PERSONNALITY. FIRST DANCER IN THE BALLETS
SUEDOIS ESTABLISHED BY ROLF DE MARE, AND CREATOR OF THE FREE DANCE, HE IS ABLE, FOR EACH BALLET, TO CHANGE HIMSELF EITHER
INTO A NEGRO OR A JAVANESE SCULPTURE, AND EVEN INTO A REAL ABSTRACT CONSTRUCTION. FRENCH AUTHORITIES DIDN'T BACK MUCH SWEDISH
ARTISTS AND ONLY A VERY FEW OF THEIR WORKS ARE REPRESENTED IN FRENCH PUBLIC COLLECTIONS. SO MODEST ARE COLLECTORS, PRESS AND
ART DEALERS' ENTHOUSIASM. STANDING ALONE, BUT WITH SUCH A SUCCESS, THE GREAT SWEDISH ART DEALER GOSTA

Les prêtres mariés sous la Révolution française by Xavier Marechaux(
Book
)3
editions published
in
1995
in
French
and held by
6 WorldCat member
libraries
worldwide
THE MARRIAGE OF PRIESTS DURING THE FRENCH REVOLUTION IS IN PART THE RESULT OF A LONG DEBATE DATING FROM THE BEGINNING OF THE
EIGHTEENTH CENTURY ON THE PROS AND CONS OF MARRIAGE OF THE CLERGY. THIS DEBATE WAS TRANSLATED INTO LEGISLATIVE ACTION, NOTABLY
DURING THE YEAR 2, BY DECREES THAT PROTECTED MARRIED PRIESTS BUT DID NOT, AS IS COMMONLY THOUGHT, IMPOSE MARRIAGE ON THE CLERGY.
THIS LATTER PHENOMENON WAS ESSENTIALLY THE RESPONSIBILITY OF LOCAL AUTHORITIES LED BY THE REPRESENTATIVES ON MISSION FROM
THE CONVENTION. THE MARRIAGE OF PRIESTS IS AN IMPORTANT PHENOMENON THAT AFFECTED CLOSE TO 6000 INDIVIDUALS, NEARLY A QUARTER
OF THE CONSTITUTIONAL CLERGY. HOWEVER, THE IMPACT OF THESE MARRIAGES SEEMS LIMITED IF ONE NOTES THAT 43 PERCENT OF THESE PRIESTS
WERE NOT ACTIVE BEFORE THE REVOLUTION AND THAT NEARLY 70 PERCENT WERE MARRIED DURING THE YEAR 2, A PERIOD DURING WHICH THE
CONVENTION'S REPRESENTATIVES ON MISSION WERE IMPOSING MARRIAGE ON PRIESTS AS PART OF THE REPUBLIC'S CAMPAIGN OF DECHRISTIANIZATION.
DESPITE THE CONTINGENCIES OF DECHRISTIANIZATION, THE MARRIAGE OF PRIESTS REVEALS A CHANGE IN MENTALITIE AT THE END OF THE
EIGHTEENTH CENTURY, ESPECIALLY WHEN ONE CONSIDERS THAT PRIESTS WHO WERE MARRIED WERE NOT LATER REJECTED BY FRENCH SOCIETY.
IN EFFECT, THE GREAT MAJORITY OF THEM SUCCEEDED IN REENTERING THE CLERGY AND SOME OF THEM OCCUPIED IMPORTANT PLACES UNDER
THE EMPIRE AND AT TIMES AVEN UNDER THE RESTORATION

Balthus et l'extrême-Orient by Xiaozhou Xing(
Book
)1
edition published
in
1997
in
French
and held by
5 WorldCat member
libraries
worldwide

Les revues d'art de l'entre-deux-guerres à Paris by Yves Chevrefils Desbiolles(
Book
)3
editions published
between
1991
and
1992
in
French
and held by
5 WorldCat member
libraries
worldwide
BY TAKING INTO ACCOUNT THE LEADING PAPERS PUBLISHED BY MORE THAN 70 PARISIAN ART MAGAZINES BETWEEN 1919 AND 1939 (DADAIST,
SURREALIST AND "ESPRIT NOUVEAU" MAGAZINES ; MAGAZINES DEVOTED TO ABSTRACT OR SACRAL ART ; MAGAZINES OR BULLETINS PUBLISHED
BY ART GALLERIES ; SCHOLARLY MAGAZINES ; MAGAZINES ON CONVENTIONAL ART ; POPULAR ART MAGAZINES...), THE THESIS RELATES THE
HYSTORY AND DEVELOPMENTS OF THIS KIND OF PUBLISHING

La répétition d'images et d'objets du dadaïsme au pop art (des années dix aux années soixante) by Jin-Kyeong Oh(
Book
)2
editions published
in
1993
in
French
and held by
5 WorldCat member
libraries
worldwide
THE REPETITION OF IMAGES AND OF OBJECTS IS A REMARKABLE AND CONSTANT PHENOMENON IN THE MODERN AR. WE CAN DEFINE THREE CATEGORIES
OF WORKS OF ART IN WHICH THE REPEATED IMAGES AND OBJECTS APPEAR. FIRST, THE ICONOGRAPHICAL SIGNIFICANCE OF THE REPETITION
DUE TO THE TECHNIQUES OF REPRODUCTION CONNECTED WITH THE MODERN INDUSTRIAL SOCIETY ; SECOND, THE FORMAL ABSTRACT EFFECT OF
THE REPEATED FIGURATIVE IMAGES OR OBJECTS ; THIRD, PSYCHOLOGICAL EFFECT OF THE REPETITION : FEELINGS OF STRANGENESS, ANGUIHS
AND OBSESSION. IN MODERN ART, THE ARTISTS USE THE MONOTONOUS REPETITION TO SEARCH FOR THEIR OWN ARTISTIC LANGUAGE AND TO PRODDUCE,
PARADOXICALLY, A VARIATION OF STYLE. EVEN THOUGH IT IS A MATTER OF THE STEREOTYPED AND DEPERSONALIZED REPETITION, AS LONG
AS THERE IS A WILL OF ARTISTS TO PURSUE THE AESTHETIC AND PLASTIC INVESTIGATIONS AND EXPERIMENTATIONS, THE WORKS OF ART WILL
ALWAYS HAVE THE VALUE OF ORIGINALITY AND OF UNIQUENESS

La politique artistique française des années trente étude des expositions en France et à l'étranger by Catherine S Amidon(
Book
)2
editions published
between
1992
and
1993
in
French
and held by
5 WorldCat member
libraries
worldwide
"FRENCH ART AND POLITICS IN THE THIRTIES : A STUDY OF FRENCH AND FOREIGN EXHIBITIONS" IS AN ANALYSIS OF : PAINTINGS IN THE
CONTEXT OF EXHIBITIONS, THE POLITICAL IDEOLOGIES OF THOSE WHO PLANNED THESE CULTURAL EVENTS, AND THE COMMENTARIES OF THEM
BY CRITICS THE WARS. THE EVOLUTION OF A SYSTEM OF EXHIBITIONS IN FRANCE, AND THE DIFFUSION OF THE VALUES IT EMBRACED, DEVELOPED
AT THE SAME TIME AS ANALOGOUS INSTITUTIONS IN OTHER COUNTRIES. THE NATIONAL SYSTEMSCONTROLED IN FRANCE BY NON-ELECTED CIVIL
SERVANTS - PROVIDED POLITICALLY CHARGED INPUT INTO THE INTERNATIONAL SYSTEM. IN FRANCE THE WORKS AND THE EXHIBITIONS WERE
USED AS TOOLS TO DEAL WITH THE SOCIAL CRISIS AND DEPRESSION. THE IMAGE OF ARTISTIC STABILITY CONSTRASTS WITH THE SOCIAL AGITATION
OF PROTESTS IN THE STREETS IN 1934 AND THE TAKE-OVERS AT THE BUILDING SITE OF THE EXPOSITION UNIVERSELLE IN PARIS IN 1937.
FRANCE, ITALY AND GERMANY ARE THE PRINCIPAL COUNTRIES IN THIS STUDY, ALTHOUGH THE UNITED STATES AND ENGLAND ARE ALSO ESSENTIAL
TO THE UNDERSTANDING OF THE PROBLEMS SPECIFIC TO INTERNATIONAL EXHIBITIONS WITH A DIRECTIVE INFLUENCE ON WORLD POLITICS. THIS
STUDY OF EXHIBITIONS IN THE THIRTIES PERMITS THE CONSIDERATION OF DIFFERENT AND OTHERWISE UNDEFINABLE ASPECTS OF FRENCH CULTURE
BETWEEN THE WARS ESSENTIAL TO UNDERSTANDING ITS' ART AND POLITICS

Place, rôle et importance de la non-spécialisation dans l'histoire du surréalisme et de la peinture by Anne Egger(
Book
)2
editions published
between
1998
and
1999
in
French
and held by
4 WorldCat member
libraries
worldwide
THIS WORK IS BASED ON THE CATALOGUE RAISONNE THAT INVENTORIES THE PLASTIC WORKS OF THE FIRST GENERATION OF FRENCH SURREALIST
POETS (1919-1966), AS WELL AS THAT OF THEIR WOMEN PARTNERS, AT THE TIME THEY BELONGED TO THE MOVEMENT. THUS, MORE THAN 920
EXAMPLES, EVERY FORM OF TECHNIQUE INCLUDED, HAVE BEEN FOUND IN 21 NON-PLASTICIAN ARTISTS. THE QUANTITY AND THE DIVERSITY OF
THESE REALISATIONS - NEITHER WORKS OF ART, NOR AESTHETIC OBJECTS NOR SIMPLE FORMS OF LEISURE HAVE BROUGHT US TO WONDER ABOUT
THE EXISTENCE AND THE EFFICIENCY OF NON SPECIALISATION IN SURREALISM. THE CORPUS IS BASED ON THE ONE HAND ON AN OBVIOUS PRACTICE
SYSTEMATISED BY THE POETS, AND ON THE OTHER HAND, ON THE INDIVIDUAL CHARACTERISTICS OF THE REALISATIONS OF EACH AUTHOR. THESE
INDIVIDUAL AND COLLECTIVE CREATIONS, OSCILLATING BETWEEN THE SERIOUS AND THE NON SERIOUS OFTEN MIX VERBAL AND VISUAL SIGNS
AND REVEAL A DOUBLE COURSE OF ACTION, BOTH LUDICROUS AND EXPERIMENTAL. THESE PRODUCTS, WHICH ARE OMNIPRESENT IN THE SUPPORTS
OF THE MOVEMENT AND WHICH ARE LEGITIMISED BY THE LATTER, CONFIRM A DIFFUSION STRATEGY. BUT THIS APPARENTLY CHARACTERISTIC
APPROACH OF THE MOVEMENT - LIKE FOREIGN FORMATIONS - DOES NOT APPEAR IN THE THEORETICAL TEXTS OF SURREALISM. OUR RESEARCH
FOCUSES ON THIS ORIGINAL AMBIGUITY. TO UNDERSTAND THE ABSENCE OF AN OFFICIAL DISCOURSE, DELIMIT THE SPACE OF NON SPECIALISATION
AND DEFINE THE STATUS OF THESE AMATEUR PRACTICES, WE HAD TO RE-EXAMINE THE HISTORY OF SURREALISM IN ITS GENERAL OUTLINES THIS
STUDY BRINGS US TO A PARALLEL HISTORY OF THE MOVEMENT WHICH USED TO ADVOCATE, IN THE NAME OF A POETRY MADE BY EVERYONE, THE
MIXTURE OF THE GENRES AND THE REVERSIBILITY OF THE ROLES... IF SURREALISM OFFERS A FIRST APPROACH OF THE ECLECTICISM AND THE
EXPLOSION OF THE ARTISTIC COURSES OF ACTION AS WELL AS A MOVEMENT OF UNIQUE SYNERGY BETWEEN POETRY AND ART, WE CAN THEREFORE
SAY THAT THE ABSENCE OF A CONSENSUS COMBINED WITH THE IMPOSSIBILITY TO TOTALLY ABOLISH THE SPECIFICITY OF TALENT MAY EXPLAIN
THE HISTORICAL MARGINALIZATION OF NON SPECIALISATION AMONG THE FRENCH MOVEMENT ITSELF

Jane Graverol by René de Solier(
Book
)3
editions published
in
1974
in
French
and held by
4 WorldCat member
libraries
worldwide

La photographie autochrome en France (1904-1931) by Nathalie Boulouch(
Book
)2
editions published
between
1994
and
1995
in
French
and held by
4 WorldCat member
libraries
worldwide
THE AUTOCHROME WAS PRESENTED AT THE ACADEMIE DES SCIENCES IN 1904 AND MARKETED BY THE SOCIETE A. LUMIERE ET SES FILS THREE
YEARS AFTER. IT WAS THE FIRST INDUSTRIAL PROCESS OF COLOR PHOTOGRAPHY OFFERED TO THE PUBLIC. ITS INVENTION INHERITED FROM
TECHNICAL PROGRESS, SCIENTIFIC DICOVERIES IN PHYSIOLOGY OF COLOUR VISION, AND AESTHETIC THEORIES OF THE LAST THIRD OF THE
NINETEENTH CENTURY. THE STUDY OF AUTOCHROME PHOTOGRAPHY TAKES PLACE AT THE CROSSROADS OF THESE THREE DISCIPLINES. IT ALLOWS
TO DEFINE THE MOMENT WHEN PHOTOGRAPHY CONQUERS THE LAST INGREDIENT STILL LACKING TO PERFECT COMPLETE REALISM : COLOUR. THE
AUTOCHROME WAS IMMEDIATELY MONOPOLIZED FOR ITS HIGHER OBJECTIVITY IN DOCUMENTARY USE. IT FASCINATED AMATEUR PHOTOGRAPHERS
WITH THE ILLUSIONNISM OF COLOUR ANE WAS ALSO USED BY ARTISTIC PHOTOGRAPHERS. ARTISTIC PRACTICE OF AUTOCHROME SOUGHT PLACE
BETWEEN IMPRESSIONNISM AND PICTORIALISM. PHOTOGRAPHERS CLAIMED THAT THIS MECANICAL PROCESS, UNANIMOUSLY WELCOMED FOR ITS OBJECTIVES
QUALITIES, CAN BE ARTISTIC. THEY STARTED A DEBATE WITHIN PICTORIALISM ADVOCATING SUBJECTIVE INTERPRETATION. ALTHOUGH IT DREW
ITS INSPIRATION FROM A FORMER PICTURAL AESTHETICS, THE AUTOCHROME TOOK PART IN A DEBATE WHICH GENERATED MODERNIST PHOTOGRAPHY.
NEVERTHELESS, THE NEW GENERATION OF PHOTOGRAPHERS NEGLECTED THIS PROCESS WHICH WAS TOO CONTRAINING AND COMPROMISED WITH A
PAST VISION. THOUGH THE AUTOCHROME PROCESS WAS INNOVATIVE IN CONCEPTION AND RENEWED PHOTOGRAPHIC PRACTICE, IT WAS NOT ABLE
TO CREATE A REAL NEW AESTHETICS

JEAN PAULHAN ET SES PEINTRES by Patrizia Mania(
Book
)1
edition published
in
1999
in
French
and held by
3 WorldCat member
libraries
worldwide
THIS STUDY HAS PUTTING EVIDENCE AT THE LESS KNOWED POINT OF VIEW IN THE WORK OF THE WRITER JEAN PAULHAN: THE STUDY IS FOCUSED
ON HIS RELATION WITH PAINTING OF THE TIME. THIS WORK WINDS BETWEEN THREE ANALYSING PARAMETERS: THE JEAN PAULHAN ART COLLECTION;
THE ILLUSTRATED EDITION BOOKS; THE CRITICAL THINKING OF JEAN PAULHAN ABOUT ART OF THE TIME. WHAT PLACE IS PUTTING PAULHAN
AS CRITIC OF ART IT WAS ASKING? THIS WAS THE QUESTION OVER THAT IT HAS BEEN LOOKING FOR AN ANSWER. SIMPLY TO SEEK THE RIGHT
PLACE WHERE PAULHAN THOUGHT MUST BE SEEN. AT LEAST IT IS CLEARLY DEMONSTRATED THAT JEAN PAULHAN HAS PLAYED A PREMINENT ROLE
INSIDE FRENCH AND EUROPEAN CULTURE BELONGS THE TIME OF 20 YEARS, SUCCEEDING TO OVERCOME THE BOUNDARIES CONSTRUCTED BY CRITICAL
SPECIALIZATIONS, FOUNDING THE MEANINGS OF HIS TIME ART AND THE SUBSEQUENTLY NECESSITY OF THAT